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Singing and Teaching Singing
A Holistic Approach to Classical Voice

Second Edition
Janice L. Chapman
368 pages, Illustrated (B/W), Softcover, 7 x 10"
Release Date:
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The second edition, Singing and Teaching Singing: A Holistic Approach to Classical Voice improves on a predecessor that has proven to be a resounding hit for singers and their teachers, speech-language pathologists, laryngologists, practitioners of Alexander, Yoga, Feldenkrais, and others, and, increasingly, as an adopted text for instructors and students in voice, singing, and performing arts courses.

For this edition, all chapters have been revised and updated, with particular attention to the Accent Method of breathing as a highly effective remedial and training technique appropriate for all singers and students; new research on use of the transverse abdominis muscles in vocal support strategies; a complete revision and updating of the case studies; a new description of the "ultimate tongue release" exercise; and the addition of the "puffy cheeks" exercise.

Eminently practical, with numerous case examples and two-color illustrations, Janice Chapman's book remains a highly personal and accessible approach to the world of the singer and the teacher.

Aside from being an internationally renowned singing teacher, researcher, lecturer, and educator, she is able to draw on her experiences as a singer with some of the worldÂ’s leading opera companies, to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman's methods are vignettes from her life and career, brought to life by her conversational and vibrant style to guide (and entertain) the reader through the book logically and in a step-by-step fashion.

Chapman's philosophy of teaching combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (that is, body, mind, spirit, emotion, and voice). The Physiological segment stresses teaching based on the anatomy, muscular function, and the effects of muscular interactions. Students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices. Finally, the Incremental section shows that singing can be broken down into manageable components, and that these components have a natural hierarchy which eventually interact and interlock. Chapman's teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique.

Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. Throughout, she stresses the importance of flexibility, partnership, and ongoing learning. Case studies, examples, and exercises and contributions from some of the world's best known voice professionals, further highlight her writing.


Kangaroo Valley, NSW, Australia

Emeritus Professor of Experimental Phonetics
University College London

MARILYN McCARTHY, M.Ed. (HRD); Grad Dip. Group W.k., Dip T.

RON MORRIS B.Sp.Thy (Hons); M.Mus.Stud. (Voice), MSPAA, MASA (CC)
Brisbane Speech and Hearing Clinic
Brisbane, Australia
Queensland Conservatorium of Music
Griffith University, Australia

Consultant Otolaryngologist
Royal National Throat, Nose and Ear Hospital
Lead Clinician in Voice
Honorary Senior Lecturer
University College London
London, UK

  • Foreword to First Edition
    Robert T. Sataloff, M.D., D.M.A.
  • Preface to Second Edition
  • Acknowledgments
  • Contributing Authors
  • Introduction

  • Pedagogical Philosophy
  • Primal Sound
  • Postural Alignment
  • Breathing and Support
    Janice Chapman and Ron Morris
  • Phonation and the Speaking Voice
    Janice Chapman and Ron Morris
  • Resonance
    Janice Chapman and Ron Morris
  • Articulation
    Ron Morris and Janice Chapman
  • Artistry and Performance
  • The Teaching and Learning Partnership Part I. The Singer's Journey: A Case Study of Eleven Singers Associated with the Studio
    Marilyn McCarthy
  • The Teaching and Learning Partnership Part II. The H-Factor: Working Holistically Within the Teaching and Learning Partnership
    Marilyn McCarthy
  • Vocal and Respiratory Anatomy and Physiology
    John S. Rubin
  • Voice and the Brain
    Pamela Davis
  • Hearing and Singing
    Adrian Fourcin
  • Working with the Professional Singer
  • From Performer to Pedagogue: A Multidisciplinary Route
  • Appendix I: Exercises
  • Appendix II: Core Capabilities for Singers and Teachers
    Marilyn McCarthy
  • Appendix III: Priorities in Developing the Young Adult Classical Singer at Music College
  • Index

About The Author

Janice L. Chapman

Professor Janice L. Chapman, AUA, FGS, OAM, is a singing teacher of world renown. Born and educated in Australia, she won a number of major competitions, including The Sun Aria and the ABC Concerto and Vocal Competition, before migrating to the United Kingdom and winning the coveted Kathleen Ferrier Competition. She performed for, among others, the Royal Opera Covent Garden, English National Opera, Sadler's Wells Opera, Scottish and Welsh National Operas, and the English Opera Group, and appeared in broadcasts for the BBC and concerts and recitals worldwide. Her operatic roles included Aida, Abigaille, Countess (Figaro), Donna Anna, Vitellia, Elettra, Sieglinde, Third Norn, Leonore (Forza del Destino), Agathe, Lady Billows, Ellen Orford, and Mrs. Grose, and at Covent Garden, she created the role of Mrs. Julian in the world stage premiere of Britten's Owen Wingrave.

For many years, she has taught at the Royal Academy of Music, London College of Music, and is currently Professor of Voice at the Guildhall School of Music and Drama. In private practice, she works with many of the world's leading opera, concert, and recording artists, including singers who regularly travel from other countries for their lessons. She is also mentoring young singing teachers and developing a collaborative approach to the teaching of singing.

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